ALL UPCOMING EVENTS

In his highly anticipated follow-up to the award-winning Tangerine, filmmaker Sean Baker makes a sincere but wholly unsentimental foray into a community living on the margins of American society. In the process, we encounter two of the most unforgettable characters in the cinema this year: 22-year-old Halley (Bria Vinaite), and her six-year-old daughter, Moonee (Brooklynn Prince).

Halley and Moonee live in a cheap motel near an Orlando freeway, a stone's throw from a cartoon-inspired theme park. That park—and every piece of mythology, consumerism, and fantasy it represents—might as well be on Mars for this mother and daughter, as Halley struggles to keep menial jobs to put a $35-a-night roof over their heads and sugary cereal on the table. Although her mother grapples with impulse control and a sad bewilderment at her chaotic life, Moonee grabs every day by the tail, corralling her pals from the next motel over to explore abandoned buildings, grift ice cream, and exuberantly prank the motel staff, most notably the ever-patient Bobby (Willem Dafoe, The Grand Budapest Hotel). When life takes a further downward spiral, Moonee's defiant, no-holds-barred love for her mother defines her uncertain future.

Baker's immersive examination of lives lived in the shadow of a fantasy world holds no clichéd, feel-good lessons about love or families. Instead, it boldly takes us to a place where momentary joys, a mother's devotion, and a spirited girl called Moonee can find a home.

"An astonishingly fine movie about the vagaries and frolics of childhood as seen largely through the eyes of its pint-sized protagonists." (Peter Rainer, Christian Science Monitor)

"This movie accomplishes something almost miraculous—two things actually. It casts a spell and tells the truth." (A.O. Scott, The New York Times)

"It's that honesty that makes The Florida Project so powerful. This is a remarkable film, one of the best of the year." (Brian Tallerico, RogerEbert.com)

"The Florida Project won't let us look away. Nor, given its brilliance, would we want to. Instead, we laugh, we watch silently, and we're challenged to stop simplifying people's lives so we can offer easy theoretical answers." (Alissa Wilkinson, Vox)

In his highly anticipated follow-up to the award-winning Tangerine, filmmaker Sean Baker makes a sincere but wholly unsentimental foray into a community living on the margins of American society. In the process, we encounter two of the most unforgettable characters in the cinema this year: 22-year-old Halley (Bria Vinaite), and her six-year-old daughter, Moonee (Brooklynn Prince).

Halley and Moonee live in a cheap motel near an Orlando freeway, a stone's throw from a cartoon-inspired theme park. That park—and every piece of mythology, consumerism, and fantasy it represents—might as well be on Mars for this mother and daughter, as Halley struggles to keep menial jobs to put a $35-a-night roof over their heads and sugary cereal on the table. Although her mother grapples with impulse control and a sad bewilderment at her chaotic life, Moonee grabs every day by the tail, corralling her pals from the next motel over to explore abandoned buildings, grift ice cream, and exuberantly prank the motel staff, most notably the ever-patient Bobby (Willem Dafoe, The Grand Budapest Hotel). When life takes a further downward spiral, Moonee's defiant, no-holds-barred love for her mother defines her uncertain future.

Baker's immersive examination of lives lived in the shadow of a fantasy world holds no clichéd, feel-good lessons about love or families. Instead, it boldly takes us to a place where momentary joys, a mother's devotion, and a spirited girl called Moonee can find a home.

"An astonishingly fine movie about the vagaries and frolics of childhood as seen largely through the eyes of its pint-sized protagonists." (Peter Rainer, Christian Science Monitor)

"This movie accomplishes something almost miraculous—two things actually. It casts a spell and tells the truth." (A.O. Scott, The New York Times)

"It's that honesty that makes The Florida Project so powerful. This is a remarkable film, one of the best of the year." (Brian Tallerico, RogerEbert.com)

"The Florida Project won't let us look away. Nor, given its brilliance, would we want to. Instead, we laugh, we watch silently, and we're challenged to stop simplifying people's lives so we can offer easy theoretical answers." (Alissa Wilkinson, Vox)

Based on the award-winning, best-selling young adult novel of the same name by Deborah Ellis, The Breadwinner tells the remarkable story of Parvana, a young girl who is forced to become the breadwinner for her family while living under the Taliban regime. Executive produced by Angelina Jolie and helmed by Irish filmmaker Nora Twomey in her solo directorial debut (co-director on The Secret of Kells, head of story and voice director on Song of the Sea), The Breadwinner is a rare gem that will captivate both young and mature audiences.

Living in a single room of a bombed-out apartment building in Kabul, 11-year-old Parvana is not allowed to attend school or leave the house without a male chaperone. Her father—a history teacher until his school was bombed and his health destroyed—sits on a blanket in the marketplace, reading letters for people who cannot read or write. However, when the Taliban arrests Parvana’s father for having a foreign education, the young girl disguises herself as a boy in order to shop for food and earn money for her family.

Sumptuously rendered with swirling hand-drawn animation that has become the hallmark of Cartoon Saloon, the film cap­tures the colours, sights, and lights of the Afghan city. Featuring a voice cast of largely Afghani, Pakastani and Indian actors, The Breadwinner disrupts the typical Hollywood version of princesses. Instead, it is a timely reminder of the millions of strong young girls and women worldwide who persevere in the face of oppression or conflict.

"The Breadwinner delivers a heart-wrenching coming-of-age tale within a nation that’s lost its way." (Jared Mobarak, The Film Stage)

"Delighting in the ancient tradition of storytelling as a means of education and understanding as well as entertainment, Nora Twomey's The Breadwinner is a richly animated jewel." (Matthew Anderson, CineVue)

The sultry Gloria Grahame (Annette Bening, 20th Century Women, The Kids Are All Right) won a best supporting actress Oscar for her performance in 1952's The Bad and the Beautiful. She appeared in films alongside Humphrey Bogart, Robert Mitchum, Lana Turner, Kirk Douglas and a bevy of other icons. Her star blazed brightly then faded quickly, but she did not disappear. How Grahame spent her later years is the subject of this beautiful—and rare—ode to life after fame.

Film Stars Don't Die in Liverpool features as fine a performance as you will see this year: Annette Bening's portrayal of Grahame. She is paired brilliantly with Jamie Bell (Jane Eyre), who breathes pure empathy into his role as Gloria's lover Peter Turner, a working-class English actor. Drawing on Turner's memoir of the same name, director Paul McGuigan fashions a moving narrative that embraces the high and lows of the erstwhile Hollywood star's time spent living in Liverpool in the 1970s. Gloria is in her fifties but her vitality and eccentricity leave Peter, who is decades younger, enraptured by this outrageous new force in his life.

As the two embark on their romance, we follow them from England to Los Angeles, from stage to hospital and from laughter to tears. Unorthodox and sincere, Film Stars Don't Die in Liverpool is the kind of showbiz love story seldom depicted onscreen.

"There is no denying the emotional force that this film develops, and for that, we can credit talented filmmakers and two stars working at the height of their powers." (Stephen Farber, The Hollywood Reporter)

"It's a beguiling story and Bell and Bening are tremendous as the star-crossed lovers." (Peter Bradshaw, The Guardian)

The sultry Gloria Grahame (Annette Bening, 20th Century Women, The Kids Are All Right) won a best supporting actress Oscar for her performance in 1952's The Bad and the Beautiful. She appeared in films alongside Humphrey Bogart, Robert Mitchum, Lana Turner, Kirk Douglas and a bevy of other icons. Her star blazed brightly then faded quickly, but she did not disappear. How Grahame spent her later years is the subject of this beautiful—and rare—ode to life after fame.

Film Stars Don't Die in Liverpool features as fine a performance as you will see this year: Annette Bening's portrayal of Grahame. She is paired brilliantly with Jamie Bell (Jane Eyre), who breathes pure empathy into his role as Gloria's lover Peter Turner, a working-class English actor. Drawing on Turner's memoir of the same name, director Paul McGuigan fashions a moving narrative that embraces the high and lows of the erstwhile Hollywood star's time spent living in Liverpool in the 1970s. Gloria is in her fifties but her vitality and eccentricity leave Peter, who is decades younger, enraptured by this outrageous new force in his life.

As the two embark on their romance, we follow them from England to Los Angeles, from stage to hospital and from laughter to tears. Unorthodox and sincere, Film Stars Don't Die in Liverpool is the kind of showbiz love story seldom depicted onscreen.

"There is no denying the emotional force that this film develops, and for that, we can credit talented filmmakers and two stars working at the height of their powers." (Stephen Farber, The Hollywood Reporter)

"It's a beguiling story and Bell and Bening are tremendous as the star-crossed lovers." (Peter Bradshaw, The Guardian)

A treasure of global cinema, Agnès Varda (The Beaches of Agnes, The Gleaners and I) makes films alive with curiosity and playfulness. Now in her eighties, she is the world's most youthful filmmaker. Her latest nonfiction film is an inspired collaboration with JR, the mysterious French street artist. Like many of Varda's works, Faces Places is a kind of travelogue in which the wonder of each locale visited is only as potent as the populace whose existence affects it.

The modus operandi is simple: Varda and JR roam from place to place in JR's truck, which is decorated to resemble a camera. In each place they visit, they meet people—coal miners, cheese makers, a Herculean farmer—and JR creates immense monochromatic portraits of them. Our endearing duo then affixes these portraits to various edifices. Quite literally, faces merge with places, or, to cite the film's original French title, visage merges with village. The landscape Varda and JR traverse becomes a record of encounters. The cumulative effect is transcendent.

Among Faces Places' most amusing refrains is Varda's annoyance at JR's refusal to remove his sunglasses, which she says reminds her of Jean-Luc Godard in the '60s. Near the films' end Varda and JR actually pay a visit to Godard. The contrast between Varda's French New Wave cohort, who represents her tremendous six-decade legacy, and JR, who embodies her vibrant present, speaks volumes about the scope of this amazing auteur's durability and persistence of vision.

"Faces Places is a film of sheer joy, its exuberance surpassed only by its tenderness and purity of purpose." (Ann Hornaday, Washington Post)

"The film is an intensely personal record, yet also a universal contemplation. Faces Places leaves the viewer with a sense of the glories of images and communication—sometimes random, sometimes specific, always continual and cumulative." (Marjorie Baumgarten, Austin Chronicle)

"Sheer perfection—that's the phrase that springs to mind when describing the humanist miracle that is Faces Places, the year's best and most beguiling documentary." (Peter Travers, Rolling Stone)

On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday. The scorching heat is almost as oppressive as the lies they tell. Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

Christine McPherson (Saoirse Ronan, Brooklyn)—affectionately known and self-proclaimed as Lady Bird—is an ambitious, bright, and precocious high school senior. Longing to break free of suburban Sacramento, she dreams of a different life full of east coast skyscrapers, Ivy League universities and cosmopolitan culture.

With modest grades and no alumni connections to speak of, Lady Bird needs extracurriculars to beef up her college applications. Joining the drama club leads to new friends (sometimes at the expense of old ones), first loves and a social life in full swing. Dealing with her critical mother and succeeding at math do not come as easily. With her dad recently laid off, her mom working double shifts as a nurse, and her brother and his girlfriend—Berkeley grads—working at the supermarket, she is keenly aware that post–high school life is no walk in the park. Old enough to appreciate what she has, but not always mature enough to show it, sometimes she just wants to go shopping for her prom dress rather than putting her clothes away.

Navigating the awkward space between adolescence and adulthood, Lady Bird, splendidly brought to life by Ronan, is a character to whom we can all relate. With her solo directorial debut, Greta Gerwig continues the charm and wit of her previous screenwriting work—think Frances Ha and Mistress America but with a more sophisticated approach to character and interpersonal relationships. Incredibly personal and immensely relatable, Lady Bird is sure to be one of the defining coming-of-age films of its generation.

"Despite hitting so many classic coming-of-age hallmarks, Lady Bird never feels anything but fresh (and refreshing). This is, in part, due to the film's remarkably realistic performances." (Sarah Kurchak, Consequence of Sound)

"A sweet, deeply personal portrayal of female adolescence that's more attuned to the bonds between best girlfriends than casual flings with boys, writer-director Greta Gerwig's beautiful Lady Bird flutters with the attractively loose rhythms of youth." (Tomris Laffly, Time Out New York)

Christine McPherson (Saoirse Ronan, Brooklyn)—affectionately known and self-proclaimed as Lady Bird—is an ambitious, bright, and precocious high school senior. Longing to break free of suburban Sacramento, she dreams of a different life full of east coast skyscrapers, Ivy League universities and cosmopolitan culture.

With modest grades and no alumni connections to speak of, Lady Bird needs extracurriculars to beef up her college applications. Joining the drama club leads to new friends (sometimes at the expense of old ones), first loves and a social life in full swing. Dealing with her critical mother and succeeding at math do not come as easily. With her dad recently laid off, her mom working double shifts as a nurse, and her brother and his girlfriend—Berkeley grads—working at the supermarket, she is keenly aware that post–high school life is no walk in the park. Old enough to appreciate what she has, but not always mature enough to show it, sometimes she just wants to go shopping for her prom dress rather than putting her clothes away.

Navigating the awkward space between adolescence and adulthood, Lady Bird, splendidly brought to life by Ronan, is a character to whom we can all relate. With her solo directorial debut, Greta Gerwig continues the charm and wit of her previous screenwriting work—think Frances Ha and Mistress America but with a more sophisticated approach to character and interpersonal relationships. Incredibly personal and immensely relatable, Lady Bird is sure to be one of the defining coming-of-age films of its generation.

"Despite hitting so many classic coming-of-age hallmarks, Lady Bird never feels anything but fresh (and refreshing). This is, in part, due to the film's remarkably realistic performances." (Sarah Kurchak, Consequence of Sound)

"A sweet, deeply personal portrayal of female adolescence that's more attuned to the bonds between best girlfriends than casual flings with boys, writer-director Greta Gerwig's beautiful Lady Bird flutters with the attractively loose rhythms of youth." (Tomris Laffly, Time Out New York)

Come watch the Oscars on the big screen at the Whittle.
Screening the Academy Awards Ceremony live as it happens at the Al Whittle Theatre! We love it when you dress up and we'll be making popcorn. Stay to the very end if you want to see the real winner of the best movie....or just hang out for a little while after Fundy Cinema's screening of Lady Bird.

Adapted from Andre Aciman’s 2007 novel of the same name, director Luca Guadagnino (A Bigger Splash, I am Love) drenches us with the golden heat of a Northern Italian summer in his new sensual masterpiece, Call Me by Your Name.

It is 1983, and 17-year-old music prodigy Elio (Timothée Chalamet, Lady Bird) whiles his time away by the pool in a beautiful vacation villa along with his Greco-Roman professor father (Michael Stuhlbarg, Arrival, Trumbo) and French mother (Amira Casar), while the family reads German poetry to each other. Each year, the family welcomes an academic assistant for six weeks and this year’s guest is the broad-shouldered, cocky Oliver (Armie Hammer), who could easily stand on his own among the Greek statues he studies. At first ambivalent to each other, it is not long before the mutual attraction between the wiry, hot-blooded adolescent and the Adonis in tiny shorts simmers beyond the bathroom they share.

This time around, Guadagnino eschews his usual splashy filmmaking with a less hur­ried pace and understated storytelling, at the same time offering ripe, glowing visual details to amplify and fill in the subtext. Ultimately, the director and his cast have crafted a movie that transcends its same-sex central story to tell a universal coming-of-age story. Reflecting on human nature, family and first love, Call Me by Your Name joins the likes of Brokeback Mountain, Carol, and Moonlight in the essen­tial queer cinema canon.

"Peachy keen. A luminous, sun-kissed Italian love story brimming with warmth, passion and feeling. This is utterly unmissable." (Josh Winning, Total Film)

"Outside of a few short moments in Ismail Merchant and James Ivory's Maurice, and Ang Lee's Brokeback Mountain, the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It's almost revolutionary. It's cinematic art." (Gregory Ellwood, The Playlist)

In Meditation Park, Mina Shum (Ninth Floor, Double Happiness) returns to the themes that propelled her early work. The film opens with Maria (Cheng Pei Pei; Crouching Tiger, Hidden Dragon) hosting a birthday celebration for her workaholic accountant husband, Bing (Tzi Ma, Arrival). Maria reveres Bing and remains in awe of the sacrifices he has made for the family, so much so that she even respects his insistence that she not speak to their son after a long-ago slight.

But when she finds evidence that Bing may not be the perfect person she believes him to be, she is forced to consider her world in a radically different light. Maria embarks on a journey of self-discovery by engaging with the world around her, something Bing has always discouraged. She befriends a group of local eccentrics and a rather shady neighbour, Gabriel (Don McKellar; Window Horses, Cooking with Stella). Maria soon realizes that people’s lives are much more complicated than Bing has led her to believe.

Shum exhibits genuine compassion with her insight into the experiences of first-generation immigrant women (including showing how men control their wives by discouraging them from social interaction and learning other languages).

Meditation Park is a charming and generous film, boasting fine performances by its leads and great support by McKellar, Liane Balaban (The Trotsky), and the star of Shum’s debut, Double Happiness, the phenomenal Sandra Oh (Window Horses), as Maria’s daughter.

"Shum mines her favourite theme—immigrant experience in Canada—in what seems at first to be a gentle slice of life but eventually develops a powerful emotional force." (Susan G. Cole, NOW Magazine)

In Meditation Park, Mina Shum (Ninth Floor, Double Happiness) returns to the themes that propelled her early work. The film opens with Maria (Cheng Pei Pei; Crouching Tiger, Hidden Dragon) hosting a birthday celebration for her workaholic accountant husband, Bing (Tzi Ma, Arrival). Maria reveres Bing and remains in awe of the sacrifices he has made for the family, so much so that she even respects his insistence that she not speak to their son after a long-ago slight.

But when she finds evidence that Bing may not be the perfect person she believes him to be, she is forced to consider her world in a radically different light. Maria embarks on a journey of self-discovery by engaging with the world around her, something Bing has always discouraged. She befriends a group of local eccentrics and a rather shady neighbour, Gabriel (Don McKellar; Window Horses, Cooking with Stella). Maria soon realizes that people’s lives are much more complicated than Bing has led her to believe.

Shum exhibits genuine compassion with her insight into the experiences of first-generation immigrant women (including showing how men control their wives by discouraging them from social interaction and learning other languages).

Meditation Park is a charming and generous film, boasting fine performances by its leads and great support by McKellar, Liane Balaban (The Trotsky), and the star of Shum’s debut, Double Happiness, the phenomenal Sandra Oh (Window Horses), as Maria’s daughter.

"Shum mines her favourite theme—immigrant experience in Canada—in what seems at first to be a gentle slice of life but eventually develops a powerful emotional force." (Susan G. Cole, NOW Magazine)

Once upon a time, villagers in a tiny hill town in Tuscany came up with a remarkable way to confront their issues—they turned their lives into a play. Every summer, their piazza became their stage and villagers of all ages played a part—the role of themselves.

While neighboring villages turned to tourism for survival, Monticchielloʼs annual tradition kept the town together for 50 years, preserved in time.

Every issue the villagers have faced in their history—their near annihilation by Nazis, the womenʼs movement, the struggles of the townʼs independent farmers, the commercialization of their land—every major event has been debated and dramatized by the villagers in the center of town.

Leading this process is Andrea Cresti, a painter and sculptor descended from Italian royalty who has devoted his life to helping his village tell their story. At 75, he still scales scaffolding to adjust lights and pulls the stage apart after midnight rehearsals. But with no qualified heir and a future generation more interested in Facebook than farmers, he struggles to keep their tradition and town from crumbling.

Spettacolo tells the story of Teatro Povero di Monticchiello, interweaving episodes from its past with its modern-day process as the villagers turn a series of devastating blows into a play about the end of their world.

"The elegiac Spettacolo is in some ways a familiar story, revolving around the universal tug of war between time and tradition." (Sheri Linden, The Hollywood Reporter)

From Chilean director Sebastián Lelio, whose Gloria provided an indelible portrait of a woman adrift, comes this incisive character study of a different nature. Marina (Daniela Vega), the transgender heroine of A Fantastic Woman, is beautiful, enigmatic, and plunged into a precarious situation after her boyfriend dies unexpectedly in her company.

Fifty-seven-year-old divorcé Orlando (Francisco Reyes, Neruda) wakes in the middle of the night, suffers an aneurism and falls down some stairs, sustaining injuries that will come to haunt Marina after she takes him to the hospital and attempts to slip away before authorities and family members begin prying. Marina knows she's regarded with suspicion for her youth, class, and, above all, gender status. She expects to gain little from Orlando's demise, but the viciousness of Orlando's son, the cold-heartedness of Orlando's ex-wife, and the intrusiveness of a detective from the Sexual Offenses Investigation Unit force Marina to not only clear her name, but also to demand the very thing no one seems willing to give her: respect.

Making subtle nods toward Almodóvar and Fassbinder, Lelio suffuses his scenes with an air of subversive noir, emphasizing Marina's quest to prove she is not the femme fatale her adversaries make her out to be. A Fantastic Woman is an alluring exercise in style, a smart spin on the genre, and a much-needed entry into the category of films that move trans characters from the margins to the spotlight.

"It may be a timely film, but it is its timelessness, as well as its depths of compassion, that qualify it as a great one." (Ryan Gilbey, The Guardian)

"Shocking and enraging, funny and surreal, rapturous and restorative, this is a film of startling intensity and sinuous mood shifts wrapped in a rock-solid coherence of vision." (David Rooney, The Hollywood Reporter)

A beautiful and rousing cross-country adven­ture, The Leisure Seeker from Italian director Paolo Virzì finds an aging couple gone rogue on an unforgettable road trip in an equally aging Winnebago.

Living their twilight years under the close supervision of their adult children and an array of doctors and specialists, John (Donald Sutherland, Pride and Prejudice) and Ella (Helen Mirren, Trumbo; Eye in the Sky) yearn for one last adventure. Escaping from their would-be captors in a 1978 “Leisure Seeker” RV, the couple hits the road in an effort to reclaim some indepen­dence and spontaneity in their lives. However, the trip may not be as carefree as the couple anticipates; both are suffering from serious health issues, prompting their children and doctors to keep close tabs on them at all times. Yet Ella, the driving force behind the road trip down the infamous Route 66, refuses to let these hindrances keep her and John from truly experiencing the world and living life on their own terms for as long as possible.

Infused with wry humour and sincere emotion, The Leisure Seeker is a poignant observation of how getting older can often be a contentious process for parents and children alike, as dynamics change and relationships shift. Featuring standout performances from both its magnificent leads, the film unflinch­ingly chronicles the challenges that seniors can face, while simultaneously saluting the adventurous spirit that inspires these two to throw caution to the wind and embark on an improbable escapade together. With great respect and genuine affection for its char­acters and an impressively nuanced take on the aging process as a journey of its own, The Leisure Seeker is a road trip unlike any other.

"The canon of Alzheimer's films doesn't lack for performances piled up with compassion and fine-grained observation, from Iris all the way to Still Alice. But as their faded Winnebago wends its way to the coast, Ella and John show there's room for two more." (Robbie Collin, The Telegraph)

"The Leisure Seeker is dry-eyed even at its most moving and a celebration of love even as it reaches its end." (John Bleasdale, CineVue)

A beautiful and rousing cross-country adven­ture, The Leisure Seeker from Italian director Paolo Virzì finds an aging couple gone rogue on an unforgettable road trip in an equally aging Winnebago.

Living their twilight years under the close supervision of their adult children and an array of doctors and specialists, John (Donald Sutherland, Pride and Prejudice) and Ella (Helen Mirren, Trumbo; Eye in the Sky) yearn for one last adventure. Escaping from their would-be captors in a 1978 “Leisure Seeker” RV, the couple hits the road in an effort to reclaim some indepen­dence and spontaneity in their lives. However, the trip may not be as carefree as the couple anticipates; both are suffering from serious health issues, prompting their children and doctors to keep close tabs on them at all times. Yet Ella, the driving force behind the road trip down the infamous Route 66, refuses to let these hindrances keep her and John from truly experiencing the world and living life on their own terms for as long as possible.

Infused with wry humour and sincere emotion, The Leisure Seeker is a poignant observation of how getting older can often be a contentious process for parents and children alike, as dynamics change and relationships shift. Featuring standout performances from both its magnificent leads, the film unflinch­ingly chronicles the challenges that seniors can face, while simultaneously saluting the adventurous spirit that inspires these two to throw caution to the wind and embark on an improbable escapade together. With great respect and genuine affection for its char­acters and an impressively nuanced take on the aging process as a journey of its own, The Leisure Seeker is a road trip unlike any other.

"The canon of Alzheimer's films doesn't lack for performances piled up with compassion and fine-grained observation, from Iris all the way to Still Alice. But as their faded Winnebago wends its way to the coast, Ella and John show there's room for two more." (Robbie Collin, The Telegraph)

"The Leisure Seeker is dry-eyed even at its most moving and a celebration of love even as it reaches its end." (John Bleasdale, CineVue)

Caesar returns in triumph to Rome and the people pour out of their homes to celebrate. Alarmed by the autocrat’s popularity, the educated élite conspire to bring him down. After his assassination, civil war erupts on the streets of the capital.
Nicholas Hytner’s production will thrust the audience into the street party that greets Caesar’s return, the congress that witnesses his murder, the rally that assembles for his funeral and the chaos that explodes in its wake.

Broken Leg Theatre is a variety show that often features The Dead Sheep Scrolls, DanceConXion, the Ukulele Ladies, Valley Ghost Walks, and so many other incredible performance artists at the Al Whittle Theatre in Wolfville three times a year. All tickets are only $10 each and every show is simply amazing!! Don't miss it!

If you'd like to be involved in Broken Leg theatre (on the stage or behind the scenes), or if you would like to reserve a ticket, please contact Donna Holmes at donnaholmes712@gmail.com or check out our Facebook page at https://facebook.com/brokenlegtheatre. :O)